Lucia Feuillet
Doctora en Letras, profesora asistente de Teoría y Metodología Literaria I en la Escuela de Letras (Facultad de Filosofía y Humanidades-Universidad Nacional de Córdoba). Docente de Teoría y Análisis Literario y Literatura Argentina en Instituto de Educación Superior Simón Bolívar. Miembro de equipos de investigación sobre Literatura argentina contemporánea en el Centro de Investigaciones de la Facultad de Filosofía y Humanidades (UNC) y Literatura especulativa en la Universidad del Salvador.
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molde jerárquico tendiente a acomodar los desplazamientos en el margen, desactivando su fuerza revulsiva. En este sentido, y teniendo en cuenta la creciente movilización de los activismos, que aspiran a tomar espacios públicos, crear iniciativas de construcción colectiva, recuperar
la potencia de la acción directa y comunitaria, reivindicamos nociones que
apuntan a construir alianzas para terciar en el terreno de la praxis política, como el concepto de "toma por asalto" (Ayllón, 2006; Galende, 2016) y "acuerpamiento" (Palmeiro, 2019).
De esta manera, en el presente análisis abordamos el ideologema del complot, herramienta mediadora que opera en el terreno de los antagonismos sociales a través de la configuración de múltiples identidades enunciativas y el quiebre de las racionalidades
dominantes. La superposición de matrices discursivas en la ficción martelliana orienta una reflexión, sistematizada aquí en torno al complot y al dispositivo provisto por la hermenéutica jamesoniana, que vuelve una y otra vez sobre la escritura y los modos de producción en conflicto.
Abstract: In this paper we analyze the novel La muerte de un hombrecito, written by Juan Carlos Martelli, from the point of view of literary technique from the construction of the narrative voice. The text in question is structured on the basis of reflection on the working tool of the writer, language as means of literary production. The inability to build a monadic true, the unveiling of the fictional character of every story, the strategies underlying the literary hoax, are some of the writing problems that develops a narrator's as bourgeois as criminal. The chairman of a winery attracted to the underworld of crime will be the voice that structures the fiction upon ambiguity, putting at risk the reader's confidence in the omnipotence of narrative figure. This analysis that tries to think of literature as production or practice is linked to a reading of the detective genre from the concept of crime as social production branch, to deploy the meanings of literary works in terms of their "living social connections" (Benjamin, 2012) . Thus, the organizations that support the national legal and illegal businesses in the moment the dictatorship ends set the coordinates of a crime narration crossed by betrayal at both the history and construction of discourse.
Our article approaches the reading/writing ideas in the Martin Kohan novel, Museo de la Revolución. In the mentioned novel, the characters that seduce, betray or transgress and are eventually exposed build a link between both, distant and overlapping historical times. The temporary jumps and the fragmentary continuity of the revolution are proposed as a method to decipher fiction. At a time of immediate danger, the voice of the defeated is recovered to avoid the illegitimate appropriation of historical meanings, as well as to configure literature. From this point, we establish a dialogue with Ricardo Piglia nouvelle "Nombre falso" to highlight the figures that embody truth and betrayal in these stories. The criminal semiosis procedure is revealed as part of a police and literary enigma in both texts. Both writing and action, subjective experience or historical event, revolves around one question: does the novel tell the succession of revolutions in a time or is the revolution a reading tool to decipher social and literary relationships in the stories? The concept that subsumes the problems of the narrative, the story and the history is the continuous revolution, as a way of reading the temporal and social organization.
ABSTRACT This paper discusses how the detective novel we analyze narrates a revolution, in order to examine central concepts of Marxism (the State, class, the stages of capitalism) which guide, in turn, a way of reading the criminal story that underlies the plot. The introduction of espionage through the networks of illegal international trade in the Antilles (where an independent rebellion with socialist elements arises), imposes the search for new tools for reading the detective genre and redefining it. Crime as a branch of social production is the mediating instrument that allows us to read the contradictions in the modes of production, where old forms survive with anticipatory elements that are put in tension in a rebellion traversed by the international configuration of crime.
Abstract: We propose to revise the approach of a key text for studies of the detective genre, Crimen delicioso. Historia social del relato policíaco of Ernest Mandel, according to the transformations in the Argentine detective genre. Rethinking, in broad terms, the limits of genre, the perspective of the author allows us to read homogeneities and diversities in the Argentinian detective genre. Thus, from the rocambole inspired literature to the symbiosis between the State and the late capitalism business sector, many intermediate options offer a way of understanding the social from the literature. The identity and otherness that are built in the criminals and decipherers interdiscursive representation are concepts developed "under erasure" that operate as a way of reading the forms of crime from the pre-capitalist societies to the present. Crime is one more branch of social production, and as such, a mediating element between the practices of subjects and the mode of production. The changes of these figures in the history of the genre accounts for historical and social changes, but also for the past and future perspectives survival, that is, the way in which social contradictions are expressed in literary texts.
Abstract: We propose to analyze the novel Este es el mar (2017), by Mariana Enríquez, which incorporates fantasy and terror to exacerbate the social senses of a production mode as brutal as it is alienating. Therefore, we work from the point of view of materialistic hermeneutics (Jameson, 1989) according to which, each interpretive act implies the allegorical rewriting of the literary text in terms of a broader horizon, the mode of production. In this aspect, the novel narrates, from the perspective of a fairy-nymph, the supernatural intervention in the mechanisms of consumption and production of rock, in the manner of a mirage of the cultural industry, exposing the sinister dangers that lie behind the daily forms of symbolic appropriation. Thus, in Enríquez's novel, human excess, fanaticism and collective perversion articulate an expressive testimony that projects unspeakable horizons of destruction and alienation linked to capitalism.
molde jerárquico tendiente a acomodar los desplazamientos en el margen, desactivando su fuerza revulsiva. En este sentido, y teniendo en cuenta la creciente movilización de los activismos, que aspiran a tomar espacios públicos, crear iniciativas de construcción colectiva, recuperar
la potencia de la acción directa y comunitaria, reivindicamos nociones que
apuntan a construir alianzas para terciar en el terreno de la praxis política, como el concepto de "toma por asalto" (Ayllón, 2006; Galende, 2016) y "acuerpamiento" (Palmeiro, 2019).
De esta manera, en el presente análisis abordamos el ideologema del complot, herramienta mediadora que opera en el terreno de los antagonismos sociales a través de la configuración de múltiples identidades enunciativas y el quiebre de las racionalidades
dominantes. La superposición de matrices discursivas en la ficción martelliana orienta una reflexión, sistematizada aquí en torno al complot y al dispositivo provisto por la hermenéutica jamesoniana, que vuelve una y otra vez sobre la escritura y los modos de producción en conflicto.
Abstract: In this paper we analyze the novel La muerte de un hombrecito, written by Juan Carlos Martelli, from the point of view of literary technique from the construction of the narrative voice. The text in question is structured on the basis of reflection on the working tool of the writer, language as means of literary production. The inability to build a monadic true, the unveiling of the fictional character of every story, the strategies underlying the literary hoax, are some of the writing problems that develops a narrator's as bourgeois as criminal. The chairman of a winery attracted to the underworld of crime will be the voice that structures the fiction upon ambiguity, putting at risk the reader's confidence in the omnipotence of narrative figure. This analysis that tries to think of literature as production or practice is linked to a reading of the detective genre from the concept of crime as social production branch, to deploy the meanings of literary works in terms of their "living social connections" (Benjamin, 2012) . Thus, the organizations that support the national legal and illegal businesses in the moment the dictatorship ends set the coordinates of a crime narration crossed by betrayal at both the history and construction of discourse.
Our article approaches the reading/writing ideas in the Martin Kohan novel, Museo de la Revolución. In the mentioned novel, the characters that seduce, betray or transgress and are eventually exposed build a link between both, distant and overlapping historical times. The temporary jumps and the fragmentary continuity of the revolution are proposed as a method to decipher fiction. At a time of immediate danger, the voice of the defeated is recovered to avoid the illegitimate appropriation of historical meanings, as well as to configure literature. From this point, we establish a dialogue with Ricardo Piglia nouvelle "Nombre falso" to highlight the figures that embody truth and betrayal in these stories. The criminal semiosis procedure is revealed as part of a police and literary enigma in both texts. Both writing and action, subjective experience or historical event, revolves around one question: does the novel tell the succession of revolutions in a time or is the revolution a reading tool to decipher social and literary relationships in the stories? The concept that subsumes the problems of the narrative, the story and the history is the continuous revolution, as a way of reading the temporal and social organization.
ABSTRACT This paper discusses how the detective novel we analyze narrates a revolution, in order to examine central concepts of Marxism (the State, class, the stages of capitalism) which guide, in turn, a way of reading the criminal story that underlies the plot. The introduction of espionage through the networks of illegal international trade in the Antilles (where an independent rebellion with socialist elements arises), imposes the search for new tools for reading the detective genre and redefining it. Crime as a branch of social production is the mediating instrument that allows us to read the contradictions in the modes of production, where old forms survive with anticipatory elements that are put in tension in a rebellion traversed by the international configuration of crime.
Abstract: We propose to revise the approach of a key text for studies of the detective genre, Crimen delicioso. Historia social del relato policíaco of Ernest Mandel, according to the transformations in the Argentine detective genre. Rethinking, in broad terms, the limits of genre, the perspective of the author allows us to read homogeneities and diversities in the Argentinian detective genre. Thus, from the rocambole inspired literature to the symbiosis between the State and the late capitalism business sector, many intermediate options offer a way of understanding the social from the literature. The identity and otherness that are built in the criminals and decipherers interdiscursive representation are concepts developed "under erasure" that operate as a way of reading the forms of crime from the pre-capitalist societies to the present. Crime is one more branch of social production, and as such, a mediating element between the practices of subjects and the mode of production. The changes of these figures in the history of the genre accounts for historical and social changes, but also for the past and future perspectives survival, that is, the way in which social contradictions are expressed in literary texts.
Abstract: We propose to analyze the novel Este es el mar (2017), by Mariana Enríquez, which incorporates fantasy and terror to exacerbate the social senses of a production mode as brutal as it is alienating. Therefore, we work from the point of view of materialistic hermeneutics (Jameson, 1989) according to which, each interpretive act implies the allegorical rewriting of the literary text in terms of a broader horizon, the mode of production. In this aspect, the novel narrates, from the perspective of a fairy-nymph, the supernatural intervention in the mechanisms of consumption and production of rock, in the manner of a mirage of the cultural industry, exposing the sinister dangers that lie behind the daily forms of symbolic appropriation. Thus, in Enríquez's novel, human excess, fanaticism and collective perversion articulate an expressive testimony that projects unspeakable horizons of destruction and alienation linked to capitalism.
A pesar de que Martelli es un autor central para la reconfiguración del género policial en Argentina y América Latina, el abordaje de la crítica literaria a su obra ha sido fragmentario e insuficiente, dejando un espacio vacío para una producción crítica que tenga en cuenta en profundidad las complejidades de su propuesta narrativa. En este sentido, nuestro trabajo presenta un conjunto de hallazgos en el campo de la literatura, dando cuenta del modo en que el arte se relaciona con los problemas vigentes en la sociedad. Además, aborda las transformaciones estéticas del género policial, que suscita intereses de los más diversos desde de todos los campos de conocimiento y que ha estructurado el ámbito de la ficción en Argentina y Latinoamérica. De modo que constituimos una indagación rigurosa sobre la obra de Juan Carlos Martelli accesible, a la vez, al público en general que tenga interés en el desarrollo histórico de las formas discursivas y artísticas.
En este caso, desde las nociones de producción social, modo de producción, contradicciones sociales, género literario e ideologema, empleadas aquí como instrumentos teórico-metodológicos, construimos un procedimiento interpretativo que se concentra en redefinir interdiscursivamente la categoría del delito desde de su lugar en la sociedad. Esto nos permite reescribir algunos rasgos de la organización social y la expresión/construcción de sus contradicciones en la literatura.
En las novelas de Juan Carlos Martelli que analizamos -Gente del Sur, Getsemaní, Los tigres de la memoria, El Cabeza, La muerte de un hombrecito y Los muros azules- la transgresión se revela en la forma de “delitos organizados”, instalada en lo social a partir de comunidades delictivas atravesadas por la traición. Esto conduce a una indagación sobre los modos de producción en contraposición, desde del delito como operador de lectura representado en los textos al modo de una rama productora de ganancias y relaciones sociales. A su vez, los mecanismos de la producción literaria pueden resignificarse interpretando alegóricamente la matriz de lectura del género policial, revelando una zona de interferencias entre la literatura y la propiedad, un conjunto de transgresiones en la red discursiva. Además, proyectamos el estudio de la obra de Martelli al contexto de la producción literaria argentina, estableciendo un diálogo con otros textos policiales canónicos y periféricos o marginales.
Para esto, revisamos en profundidad las categorías del materialismo histórico atinentes a nuestra lectura, y las redefinimos en relación a la crítica cultural. Nos centramos en la propuesta de Fredric Jameson, en diálogo con otros autores que abordan objetos culturales desde una perspectiva marxista: Antonio Gramsci, Terry Eagleton, Bertolt Brecht, Walter Benjamin y otros.
Nuestra lectura del materialismo histórico, además, procura recuperar la tradición crítica y transformadora de lo social en que este se sostiene desde sus orígenes, sin caer en el determinismo de las teorías del arte como “reflejo”. De modo que la historización crítica es el signo de nuestra lectura del marxismo y de los procedimientos de construcción del lenguaje literario, de ahí que retomamos corrientes de la teoría fuertemente ligadas al desciframiento de las tendencias al cambio y el movimiento histórico. Para Jameson, el análisis de la contradicción en lo social es parte de la interpretación sistematizada en los estudios literarios. De esta forma, el ideologema del delito y la contradicción social constituyen los puntos de partida para repensar al género policial como matriz de lectura y a la vez reescritura del código maestro de los “modo/s de producción”.